What do you aim to say by the themes in your art?
With my work, I intend to address the theme of movement, displacement and the creation of spaces. To achieve this it is necessary to question, to question oneself, to investigate and to go to a neutral place, not vitiated by trajectories or images, that allows us to give ourselves that space for reflection, to stop and let the new work and its narrative question or contribute to the debate on a particular subject.
Where does your inspiration come from?
My inspiration comes from the works of the abstract and constructivist schools of art, as well as from abstract expressionism (Germany). The central concepts that run through my work are movement - displacement and with it the creation of space. I define space as a neutral, non-existent place, which has a before and an after, but which exists from the creation or conception of the author. This concept runs through VoDMA, Von Der Mitte Aus, a work made in 2020 where "That dimension" is one of the pieces that make it up. "That dimension" admits many interpretations, but in its creation what inspired me was the question: How many dimensions of communications do we as human beings attend today, consciously and unconsciously? In the search for a possible answer to the above, it is the dimension from which we respond.
Do you have any experiences that have impacted your art?
The central thing that has had an impact on my work is the concept of displacement and
movement. Not only in a physical sense, but also emotionally. Painting is very emotional and one creates from different dimensions and feelings. When we move, whether from joy to nostalgia, or from Montevideo to Seoul, we experience different dimensions on that journey. Experimenting is what my work is all about.
Do you feel your art challenges existing barriers?
As I see it, there are, roughly speaking, two types of barriers; the own and often unknown ones imposed by the author himself; and those that are given by the system and order of which we are a part (exhibitions, magazines, calls, residencies, galleries and gallery owners, buyers, etc.). This leads me to investigate and deepen, for example, how I can approach my abstract work from cubism. Thinking and constructing the narrative is something I like very much and it has to do with the use and construction of visual language. That's where I stop in search of those barriers.
What are your long-term artistic goals?
I set myself short-term goals. The preparation and creation of a new work is always challenging and one has to be very aware of the background of previous work in order not to vitiate the new theme or work. The mounting of group exhibitions as well as solo exhibitions is a permanent goal. The main goal is that the work I do and the narrative I construct is seen by more people. Painting in particular is very subjective and so the more interpretations there are of my work (which are part of the work) means the more people have seen it. Another long-term goal is to mount an exhibition with more than 40 pieces in Uruguay.
What advice do you have for aspiring artists?
I think there are some very important elements to making and creating art and culture. The first is the passion to really do what you want to do. In this case painting, and doing it with passion. Ongoing research and study whether it is about color theory or composition on the canvas is another important element.
The permanent study does nothing but broaden one's knowledge and desire to create. When I say study, I don't mean to do a Master's or Doctorate; (which is very valid) but to study exhibitions, the works of great artists, as well as attending courses online or through platforms, books, etc. A nice tip is to always carry a notebook with you where you can draw and capture those ideas that appear from one moment to the next.
The definition and construction of a theme, of a new narrative is very important. A work is not only constructed from a set of paintings or pieces, but also from the narrative that sustains it. What the receiver reads and interprets about the work, what it generates in him, is also part of the work. And the narrative gives weight and continuity to the work.
This element is fundamental as we are witnessing a society of themes that are dealt with
ephemerally or that, due to their shallowness, do not remain latent. Social networks have greatly favored communication but also overloaded it with information, photographs and images.
Working on order. There is an idea in the collective imagination that the artist is not so tidy. In this sense, the more order there is at the work table; in the creation of a new piece or work, the better it will be for the artist himself, not only in the creation, but also in the communication and dissemination of what he does.
The creative process. This process is permanent and is nourished by the exchange with other artists, training, looking at art, attending exhibitions, whether virtual or physical. The creative process is a very healthy and noisy place at the same time; however one should not be afraid of it because that is where the idea and a new work grows.
Finally I believe that the most important thing is perseverance; not only for the creation,
concretion or completion of a new work, but also to favour the creative process, and what comes after a finished work.
